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Tracey Louise Mollet - Cartoons in Hard Times: The Animated Shorts of Disney and Warner Brothers in Depression and War 1932-1945

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Tracey Louise Mollet Cartoons in Hard Times: The Animated Shorts of Disney and Warner Brothers in Depression and War 1932-1945
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Cartoons in Hard Times provides a comprehensive analysis of the short subject animation released by the Walt Disney and Warner Brothers from 1932 and 1945, one of the most turbulent periods in Unites States history. Through a combination of content analysis, historical understanding and archival research, this book sheds new light on a hitherto unexplored area of animation, suggesting the ways in which Disney and Warner Brothers animation engaged with historical, social, economic and political changes in this era.The book also traces the development of animation into a medium fit for propaganda in 1941 and the changes in characters, tone, music and narrative that took place to facilitate this transition. Animation transformed in this era from a medium of entertainment, to a socio-political commentator before finally undertaking government sponsored propaganda during the Second World War.ReviewMollet offers a close study of those cartoons produced by Disney and Warners beginning in 1930 with the outset of the Great Depression and concludes with the end of World War II in 1945. Her volume is expertly conceived, scrupulously researched, and smartly written, providing just the right balance between objective information and personal interpretation. This will immediately become the definitive study of this fascinating and unique niche in the history of Hollywood animation. * Douglas Brode, author of From Walt To Woodstock: How Disney Created the Counterculture * Offering balanced coverage of the short-form animations of both Walt Disney and Warner Brothers, between 1932 and 1945, Mollet provides a compelling account of how both studios gradually established the persuasive - and at times propagandistic - credentials of animation at a time of significant economic, social, and political transformation. By providing a detailed analysis of the themes, stories, and symbols found in these animated shorts, Mollets book is sure to become a lasting reference point for readers wishing to learn more about how these films engaged with the prevailing issues of their time. * Chris Pallant, Senior Lecturer, Canterbury Christ Church University, UK * This an ambitious and tremendously thorough book which sheds light on some neglected areas of animation, in particular early Warners and Disney short cartoons. It will appeal both to students of animation and those interested in American popular culture between 1932 and 1945. It puts cartoons of this period in the context of wider historical events - in particular the depression, Roosevelt and the Second World War - and re-examines the role of animation in the overall history of Hollywood. It not only analyses these cartoons in depth, but also demonstrates the importance of animation in the field of propaganda. In doing all this It highlights some of the lesser known work of some Americas pre-eminent animators, including Tex Avery, Bob Clampett, David Hand, Chuck Jones and Frank Tashlin. * Dave Huxley, Senior Lecturer, Manchester Metropolitan University, UK * Tracey Mollets Cartoons in Hard Times is the examination of animated shorts that Animation scholars and students have been needing for some time. Its examination of the ways that animation both reflected and played an important role in two periods of intense crisis - the Great Depression and World War II - is one that will fascinate animation scholars and animation fans alike. * Amy M. Davis, Lecturer in Film and Animation Studies, University of Hull, UK *About the AuthorTracey Louise Mollet is a Lecturer in Media and Communication at the University of Leeds, UK.

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Cartoons in Hard Times For Neil Cartoons in Hard Times The Animated Shorts of - photo 1

Cartoons in Hard Times

For Neil

Cartoons in Hard Times

The Animated Shorts of Disney and
Warner Brothers in Depression
and War 19321945

Tracey Louise Mollet

Bloomsbury Academic

An imprint of Bloomsbury Publishing Plc

Contents The Three Little Pigs 1933 Walt Disney Treasures The Wise - photo 2

Contents

The Three Little Pigs (1933). Walt Disney Treasures.
The Wise Little Hen (1934). Walt Disney Treasures.
Bosko in Person (1933). Looney Tunes Golden Collection.
Modern Inventions (1937) . Walt Disney Treasures.
The Grasshopper and the Ants (1934).Walt Disney Treasures.
Mickeys Pal Pluto (1934). Walt Disney Treasures.
Moving Day (1936). Walt Disney Treasures.
Porkys Poppa (1938). Looney Tunes Golden Collection.
Porkys Road Race (1937). Looney Tunes Golden Collection.
Self Control (1938). Walt Disney Treasures.
Boskos Picture Show (1933). Looney Tunes Golden Collection.
Three Little Wolves (1936). Walt Disney Treasures.
The Thrifty Pig (1941). Walt Disney Treasures.
She Was an Acrobats Daughter (1937). Looney Tunes Golden Collection.
Donalds Better Self (1938). Walt Disney Treasures.
Donalds Decision (1942). Walt Disney Treasures.
Porkys Poultry Plant (1936). Looney Tunes Golden Collection.
What Price Porky (1938). Looney Tunes Golden Collection.
Old Glory (1939). Looney Tunes Golden Collection.
Old Glory (1939). Looney Tunes Golden Collection.
Detouring America (1939). Looney Tunes Golden Collection.
Aviation Vacation (1941). Looney Tunes Golden Collection.
Holiday Highlights (1940). Looney Tunes Golden Collection.
The Fighting Sixty Ninth Half (1941). Looney Tunes Golden Collection.
Meet John Doughboy (1941). Looney Tunes Golden Collection.
Rookie Revue (1941). Looney Tunes Golden Collection.
The New Spirit (1942). Walt Disney Treasures.
Any Bonds Today? (1942). Looney Tunes Golden Collection.
Spirit of 43 (1943). Walt Disney Treasures.
Der Fuehrers Face (1943). Walt Disney Treasures.
Der Fuehrers Face (1943). Walt Disney Treasures.
Education for Death (1943). Walt Disney Treasures.
Reason and Emotion (1943). Walt Disney Treasures.
Chicken Little (1943). Walt Disney Treasures.
Food Will Win the War (1942). Walt Disney Treasures.
Food Will Win the War (1942). Walt Disney Treasures.
Out of the Frying Pan Into the Firing Line (1942). Walt Disney Treasures.
Fall Out, Fall In (1943). Walt Disney Treasures.
The Ducktators (1942). Looney Tunes Golden Collection.
The Ducktators (1942). Looney Tunes Golden Collection.
Fifth Column Mouse (1943). Looney Tunes Golden Collection.
Scrap Happy Daffy (1943). Looney Tunes Golden Collection.
Plane Daffy (1944). Looney Tunes Golden Collection.
Herr Meets Hare (1945). Looney Tunes Golden Collection.

There are so many people I would like to thank for helping me to accomplish this lifelong dream. First and foremost, I would like to thank the late Philip M. Taylor, without whom this project would not have existed. His belief and enthusiasm for the subject was what inspired me to realize that combining my two passions of History and Disney in academic research was possible. Secondly, I would like to thank all of my colleagues, past and present, at the School of Media and Communication at the University of Leeds. Thirdly, I would like to thank all the fantastic staff at the Margaret Herrick Library in Beverley Hills, the University of California Los Angeles Archives, the Warner Brothers Archives at the University of Southern California and the American Film Institute Archives. I would also like to thank all of my wonderful tutors, throughout my educational journey, but most especially Jonathan Davies, Steve Donlan, Jay Sexton and John Watts.

My biggest thanks, however, go to my family and friends, and my partner, Neil, to whom I would like to dedicate this book. I can never thank you enough for all of the support you have given me over the past three years.

AAAAgricultural Adjustment Administration
AFIAmerican Film Institute
CIAACentre for Inter-American Affairs
CWACivil Works Administration
FBIFederal Bureau of Investigation
FDRFranklin Delano Roosevelt
FERAFederal Emergency Relief Administration
FHAFederal Housing Association
FSAFarm Security Administration
LTLooney Tunes
MMMerrie Melodies
NRANational Recovery Administration
OIAAOffice of Inter-American Affairs
OSSOffice of Strategic Services
OWIOffice of War Information
PCAProduction Code Administration
SASturmabteilung
SNAFUSituation Normal All F**ked Up
UCLAUniversity of California Los Angeles
USCUniversity of Southern California
WPAWorks Progress Administration

In the summer of 1941, Nelson Rockefeller and John Hay Whitney approached Walt Disney to make a series of animated shorts for the Office of Inter-American Affairs (OIAA). The OIAA was formed in 1940 and was primarily concerned with the financial problems of Latin American countries, but its role became limited to cultural relationships following the establishment of the Board of Economic Warfare (McCann 1973, 148). Rockefeller and Whitney wanted Disney to tour South America as a goodwill ambassador, believing that Disneys animation could be fundamentally important at curbing pro-Nazi feeling there. They offered to underwrite the cost of the trip and promised Disney $50,000 for making animated shorts fostering good relations between Latin America and the United States (Jackson 1993, 37). Disney set off with two dozen of his best animators in August 1941, leaving his studio in the aftermath of a disruptive strike, with the remaining artists fumbling through the animation for Dumbo (1941). Disney had accepted his first state contract to produce propaganda through the medium of animation.

Nearly six months prior to the Japanese attack on Pearl Harbor, the Schlesinger Studios released Meet John Doughboy (1941) . It was distributed by Warner Brothers, who were well known for the political undertones of their feature films. Released the day after 4 July and just a short week following Germanys invasion of the Soviet Union, this animated production was unquestionably interventionist in its tone, calling for Americans to support the war and oppose anti-draft legislation. Despite the fact that the United States was not yet at war, these two studios quickly mobilized to present political messages through the medium of animation, recognizing its strength as an ideological platform.

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